Deutsche Elektronische Musik 3: Experimental German Rock and Electronic Music 1971-81

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Third, and if the sleeve strapline is to be believed, last in this stand out series. Life for the fan of this music has always beena mix of archaeology, detection and prospecting. Always chasing leads and panning for golden nuggets that reward such efforts.By it’s nature this music was never upfront, mainstream or readily available in the UK, even in it’s own time. ” CAN, the most referenced, but lease heard band”. Now in the era of Ed Sheeran (Heating and Plumbing) Ltd. and Britain’s Got ADHD, sonic messages in bottles such as these, to mix metaphors, are Manna from heaven, even for the self styled aficionado.Across this and the other two in the series, are well known and admired artists, along side genuinely new (to this old hack) artists. To re iterate, such is the nature of the genre.But WOW! As always the bittersweet feelings of discovering something new and wonderful. And then the remorse of nothaving experienced it from it’s inception. If anything, the selections are sometimes “too” perfect. The chosen piece turning out to be the obvious stand out track on an otherwise plain offering. Or differing widely from the rest of the artist’s work. For example Dronsz by Novalis, taken from their eponymous LP is a solid example of the German art, while the rest of the album is more akin to John Williams’ SKY with proggy flourishes. “Alas, earwax” as Dumbledore chimed. Similarly the two tracks by Streetmark.This is where the new technology assists greatly, Spotify etc. being very useful in verifying the prized ore from the waste gangue. Written eulogies are sometimes well wide of the mark.But this is not the point, these compilations offer a truly broad sample and document for the serious devotee. But most wonderfully they do double duty as straight forward LPs, capable of being played tops to tail and impressing ones dinner guests.One may argue, why CAN, but no Holger Czukay solo gems. Why NEU! but no S.Y.P.H. in all their glorious diversity, rhythm and chaos. Why no Hoederlin, with their truly ahead of the game Phasing and Streaming pieces.But one should shut up, CDs are so long, choices are made. And it would be missing the point, these compilations shinelight onto a fantastic music. A wonderful mix of works from Brosselmaching to Faust, Popol Vuh to Michael Bundt andGila to Conrad Schnitzler, Where else could such a melange be heard? Nowhere but on these CDs. It is tacitly stated that I totally endorse and recommend (nay demand), that any follower of this genre, seasoned oldie or raw newbie, should most rapidly acquire them. A point evinced by my twenty three year old son, not normally an instant fan of my music.While passively listening to one of the CDs I was playing, asked, “What is this music? It’s brilliant”. Out of the mouths of babes.What these compilations show us, is that Germany had it’s own discrete scene, with a broad spectrum of sounds independent of other influences. Yes it had it’s stellar heights, abysmal depths and it’s in-betweens like all music. Butcomparisons to British bands is not necessary. The very best, and these CDs showcase that, outline a distinct offering, intelligent, wistful, beautiful and human.Each mariner must make his own journey, so it’s time for this old voyager to dust off his astrolabe, polish his spyglass and sharpen his pickaxe and once more set sail, ever hopeful of finding undiscovered worlds of Deutsche Elektronische Musik, with a little help from the good folk at Soul Jazz Records AUF WIEDERHOREN.

It’s been a few years since volume 2 was released and I have to say that my appetite for this magical period in German music has only grown and grown as a result. I have previously reviewed the other two compilations and again I can say that the standard has been maintained. The first volume possibly has a slight edge but all are definitely worth investing in. Here are three reasons for taking the plunge. Firstly the sound quality on all these releases is absolutely stunning, so hard to believe that some tracks go back over 45 years. Full marks to the mastering and audio restoration guys, this is the best sound I’ve heard on recordings of this vintage. Secondly, if you are getting the CD, as I did, then you get a really informative 26 page booklet with great notes from the acclaimed author David Stubbs. The print is (for once) perfect size for comfortable reading and you will find yourself dipping back in regularly as you become more acquainted with the music – I wish all CD booklets would aim for this ‘gold standard’.But what of the music? Well yet again Soul Jazz Records have perfectly balanced the more familiar with a number I have never heard of. There are many great tracks but I’ll just pick out a few that I really enjoyed: Klaus Weiss (I was so impressed that I went straight out and downloaded the full album – Open Space Motion), Dorothea Raukes (who appears here as Deutsche Wertarbeit and as part of Streetmark) & Roedelius (Lustwandel). Then as I drove to work today through particularly awful rain and sleet the sound of Michael Bundt’s ‘The Brain of Oskar Panizza’ perfectly fitted the dark and threatening mood of the weather. It was followed by the delicate and sublime beauty of Popul Vuh to raise the spirits.Most of the choices are either good or great but I did dock a star for the odd track or two that aren’t really up to the rest. The lengthy 11 minutes of ‘And the waters opened’ by Between is for my taste somewhat over indulgent and experimental. Each to his own I guess.Finally I did note on the front cover that it says “That’s all Folks!”. Maybe this is to be the final part of a wonderful trilogy – I’d like to think not.